Billy House

Billy House (born William H. Comstock, May 7, 1889 – September 23, 1961) was an American actor, vaudevillian, comedian, and Broadway performer whose career spanned more than five decades. Beginning around 1905 as a trumpet player in traveling circuses, he quickly moved into vaudeville and burlesque, where his prodigious size and booming voice made him a natural comic attraction; contemporary reviewers often described him as a "grinning guava jelly" whose presence lit up the stage. By the late 1920s he broke into Broadway, appearing in productions such as Lucky Girl (1928) and the Earl Carroll version of Murder at the Vanities (1933), where his comedic timing and physical humor earned him both applause and vivid press commentary that noted his "incredibly fat" but undeniably lively performance. House’s talent caught the eye of film pioneers, and by the early 1930s he was starring in two‑reel shorts like The Dunker and Bullmania, many of which he wrote himself, adapting material from his vaudeville routines. After the short‑subject format waned, he transitioned to feature films, becoming a sought‑after character actor throughout the 1940s and 1950s; notable roles include Friar Tuck in Rogues of Sherwood Forest (1950), the ominous Lord Mortimer in Bedlam (1946), and memorable appearances in The Egg and I (1947) and Touch of Evil (1958). Orson Welles admired House’s "great old‑fashioned slang" and cast him in three of his films, most famously expanding his part in The Stranger (1946) at the expense of Edward G. Robinson’s screen time, a move that Welles later proclaimed was "House's picture." In addition to his screen work, House served as a live‑action model for Disney’s Doc in Snow White and the Seven Dwarfs and Smee in Peter Pan, further cementing his influence on popular culture. Though much of his early live‑performance material was lost to time, his memorabilia survived in the hands of variety‑theater historian Milt Larsen and now reside in the Magic Castle’s archives, ensuring that Billy House’s larger‑than‑life legacy endures for future generations of scholars and fans.